This book studies the working efficacy of Leonard Cohens song Hallelujah in the context of todays network culture. Especially as recorded on YouTube; k.d. langs interpretation(s) of Cohens Hallelujah; embody acoustically and visually/viscerally; what Nietzsche named the spirit of music. Today; the working of music is magnified and transformed by recording dynamics and mediated via Facebook exchanges; blog postings and video sites. Given the sexual/religious core of Cohens Hallelujah; this study poses a phenomenological reading of the objectification of both men and women; raising the question of desire; including gender issues and both homosexual and heterosexual desire. A review of critical thinking about musical performance as currency and consumed commodity takes up Adornos reading of Benjamins analysis of the work of art in the age of mechanical reproduction as applied to music/radio/sound and the persistent role of recording consciousness. Ultimately; the question of what Nietzsche called the becoming-human-of-dissonance is explored in terms of both ancient tragedy and Beethovens striking deployment of dissonance as Nietzsche analyses both as playing with suffering; discontent; and pain itself; a playing for the sake not of language or sense but musically; as joy.
#1137355 in eBooks 2016-03-03 2016-03-03File Name: B01CWLC9GM
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